Arize Hotel was launched its first branch on Sukhumvit 26 Road, whose main target is Japanese expatriates. Later on, the owners anticipated the opportunity in Sriracha where there is an industrial estate in the area, plus it is a strong base of Japanese business people. The hotel consists of 379 guestrooms, most of which are long-stay guests. So, some room types have more additional facilities and larger room area than the standard hotel. Meanwhile, the design of the hotel should conform to the context and characteristics of the beach city.
At the podium zone, a massive enclosed courtyard keeps most existing trees and acts as a serene welcome area for guests; it protects the area from chaos in its neighborhood. This court is inspired by the concept of “Engawa,” which means a terrace connecting people and nature. Laths are selected as a feature element to enclose the courtyard and control the quality of light shining into space. The light and shade change over time. This occurrence reflects the origin of the Japanese word “Ma,” which means “Space” or “Place” in Japanese architecture. It is derived from the word “Door” and “Sun,” which implies that sunlight seeps through the door’s void.
The lobby aligns with the axis of the great existing tamarind tree, which acts as a background of the lobby entrance. On the second floor, there is a bridge connecting to the all-day dining area as a loop which is convenient for usage. The glass which encloses this floor is designed to be semi-transparent, giving a hint of a Japanese paper door, “Shoji.” The top of the podium is a place for a new swimming experience. In the pool area, the guests can swim around the building and enjoy the courtyard below. Therefore, the tree court could be a visual linkage for the guest as it can be seen easily from many spots in the podium.
The project’s owners intended to apply a double-load-corridor system in the guestroom zone to minimize the circulation area in the tower design. In doing so, the designers developed an option that allowed all rooms to see the beautiful view, by having one side of the building facing the gulf of Thailand and the other facing mountain view. Many common areas are filled in every floor and flexible for any outdoor activity. They continually connect to the top level on which the penthouse is placed – a combination of living area, bedrooms, and meeting room for the owners.
The interior spaces inspired by the popular late Edo art topic, “Setsu Getsu Ka,” referring to “Snow, Moon, and Flower.” The phrase is interpreted into many sub-themes which are separately used in different zones. In the lobby, the word “Snow” is interpreted as “to be borderless” by covering the pillars with reflecting glass and installing 3,000 wood pieces in the ceiling, referring to haphazardly falling snow. In combination with the reflecting glass, some wood pieces around the pillars could blend in harmony with their surroundings. The design concept of the all-day dining zone focuses on the word “Moon,” as it is about the phenomenon of light and shadow. The conference room’s concept is an interpretation of the word “Flower” and is materialized through the movement of the elements. Additionally, the idea of “Wabi-Sabi” inspired the design process of the guestrooms and is realized through natural wood with raw texture in decoration to illustrate its imperfect beauty.
CHONBURI, THAILAND
DESIGN : 2015 / COMPLETION : 2019
ARCHITECT : IDIN ARCHITECTS
INTERIOR DESIGNER : IDIN ARCHITECTS
LANDSCAPE : TROP : TERRAINS + OPEN SPACE
PHOTOGRAPHER : SPACESHIFT STUDIO
AREA : 33,000 SQ.M.